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Dame Grease - Main Ingredient
Interview by: Serge Fluery
 When it comes to the art of making noise, some producers might excel more than others. Now [we] all have our favorites; and we're all guilty of disregarding lyrics at times to just focus on the beats. That's just the way of the world; some people might be connoisseurs of verbal gymnastics, and others may fall in love with great tracks, like Dale Earnhardt Jr. But for those who have an obsession with drum kicks, bass lines, and break beats; you basically have to types of sound-smiths to choose from.
 While some of them will have you on the dance floor sweating more than a pregnant nun; other master's of the boards, can keep your head nodding until a neck brace is needed. Harlem heavyweight Dame Grease may have you taking time off of work; due to chronic neck pain, of his production, (if he hasn't already). From working with the likes of DMX, N.O.R.E, and LOX to scoring movies such as "Exit Wounds", "Cradle 2 The Grave", and "Never Die Alone" there isn't much he hasn't laid his hand on.
With his Lot Musik Recording Studio churning out hits like heavily rotated "Big Spender" with Freeway feat. Jay-Z, and working with fellow hometown heroes, The Diplomats, it doesn't look like his Vacant Lot imprint won't be vacant anytime soon.
Nobodysmiling.com : So how did you first get into Hip-Hop?
Dame Grease Sh*t man, I started back like around 15-16 years old. Actually music was apart of my life, through my mom. They'd always be playing disco music, and then the music started coming out in [our] age group. Like "gangsta rap", or more like "style rap." Like The Native Tongues, and all that type of stuff. Also the more political stuff; like Public Enemy. That's when I really knew I wanted to do this.
Nobodysmiling.com : What was the first song you produced that first started to get you attention?
Dame Grease It was probably one of the mixtape joints I had done with The LOX. I did a lot of mixtape/crew-joints, that n***as started going crazy for. Those were all joints I was doing on the underground scene, through the DJ Clue. But my first real joint that was put on the mainstream was "We'll Always Love Big Poppa." That was on the first LOX album.
Nobodysmiling.com : So you did that record from "Money, Power, and Respect"?
Dame Grease Yeah, that sh*t was big man...
Nobodysmiling.com : What new projects can we expect from Vacant Lot?
Dame Grease Well right now you already know I'm working on some Max B sh*t from The Diplomats.
Nobodysmiling.com : He just got out of jail, right?
Dame Grease Yeah he did... I also got a joint with DJ Drama called "The Feds Taking Pictures of Me" with and Jeezy, Jim Jones, Rick Ross, T.I. and Young Buck. Plus you already know I got that "Big Spender" record out with Freeway and Jay-Z, that's really big. And I got my own single out called "Sour Diesel", with me featuring N.O.R.E. and Styles P.
Nobodysmiling.com : How was it like when you got the opportunity to do movie scores?
Dame Grease Scoring movies was a whole different thing for me. There really is a direction you have to follow when scoring movies, its like "1-2-3" steps to it. But there still is a big musical aspect of it, and you have to try and touch all types of music. From Hip-Hop to R&B, to world music, to disco.
Nobodysmiling.com : Was there any particular reason why you chose to go with less sampling when producing records?
Dame Grease Well you got to think about it, I go with what's best. And if there is a sample that I use, I put it through the "Grease-A-Lizer", know what I'm saying. I don't do "looping", I'm not big on "looping." I'm going to put it through the "Grease-A-Lizer." Like "Big Spender" is a sample, but the way I did the beat; no one ever did it like that before. I make it a whole presentation, and the "Big Spender" [part] is a really big part of that. So when I do sample, I make it my own. I respect the other person's work. So I'm going to make into something they can listen to and be like; "yo that sh*t is hot!" know what I'm saying. [laughter]
Nobodysmiling.com : [laughs] I hear you......Nowadays producers are a lot more noticeable, but you haven't really been in the public eye. Any reason for that?
Dame Grease Well I'm in the public eye right now, that's why we're here doing this interview. [smiling]
Nobodysmiling.com : You have a good point there. [smiles]
Dame Grease I love being in the public eye, know what I'm saying. Because I let the people know what's going on. But back in the day, I wasn't really focused on being in the public eye. I was focused on building my career, and opening up other doors away from producing. Like running a record label, to making videos and just other things like that. And I wanted to do those different things, and make them successful as possible. That's where I'm right now because, everybody knows that. [laughing]
Nobodysmiling.com : So what makes your sound stand out from other production?
Dame Grease I just put everything through the "Grease-a-Lizer" know what I'm saying. Just like Picasso. Everything he painted had a different stroke to it. So with me, every picture I paint, I try to put myself into it.
Nobodysmiling.com : Does it bother sometimes when people don't mention your name as one of the top producers today?
Dame Grease Nah man, I'm bigger than all that sh*t. You can check the credits, know what I'm saying. My sh*t is mandated. The music that I've done has changed the game, and its started careers. And started most of the conglomerates off into the world. So with me doing that, it would be pessimistic of me to feel any type of way. Especially when I know who I am. And for the people reading this; whether you know who I am or don't know who I am; you're going to know who I am. So I don't dwell on that. Because everyone is going to pick their own certain people, regardless of how it goes.
Nobodysmiling.com : You've done a lot of work with the Diplomats. The chemistry between you all must be strong.
Dame Grease Well I'm like a different person in Harlem, I'm like a Young O.G. I'm the same person from back in the day, when I was 15. Everybody knows "Dame Grease", "129 Lennox Ave", and "Vacant Lot." If no one has done anything personal to me, then there's no reason why I shouldn't work with that person. Being that the The Dips is from Harlem, you crazy! They got Harlem going, even after Mase and all that. So that's what counts for me, and I support that. Its a lot bigger than that, so I support what n***as is doing. They're hustling, and grinding, and those are my n***as. So its only right that I support them. Them n***as be spittin' that sh*t.
Nobodysmiling.com : So do you have a process when shopping you're beats around?
Dame Grease A lot of people ask me that. [smiles] My whole thing is relationships. I f**k with everybody. I pick up the phone, and call them up. Or I call their auntie [laughs] like; "Grease is looking for you." I don't really deal with A&R's, I'm more of "artist-to-artist."
Nobodysmiling.com : So you pretty much handle your own work?
Dame Grease Yeah I'm an artist, so I reach out to other artists. That's what keeps my music clean and pure.
Nobodysmiling.com : Would you say all producers are ultimately competing against each other; or is it all just mutual admiration?
Dame Grease Its like both, because producing is like a sport; know what I'm saying. Like everybody wants to be on top, but its also admiration. Especially for me, because I see a lot of guys, and they admire me. I give peace to a lot of producers too, because they get the respect and they get the props. So its all admiration. The thing about the "producer game" is what "Grease" does, to what "Pharrell" does, to what "Timbaland" does, to what "Swizz" does; is what's makes the game better. Because everyone does their own thing, and that's what also keeps the game well-balanced. So for me doing movies scores, and taking a hiatus; it was like I took my sling shot and pulled it back. I pulled it back for like two years, and let it stretch. And now I'm letting it go.
Nobodysmiling.com : So was there any particular reason why you sat out the game for that long?
Dame Grease : Well you got to think about it, besides being a producer; I'm a man. So being a man coming into the game, you have to grow; and allow yourself to grow. So its only right to sit back and walk the race, instead of running it. Because then you see more, and you catch more once you're walking. And some of the people that are stuck running, miss out on that.
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